David Fincher is probably one of Hollywood’s last hopes when it comes to quality films. The man is responsible for the extremely dark thriller, “Se7en”, and the elusive “Fight Club”. Although he’s had some slip-ups (“Panic Room” anyone?) he’s a quick learner. His latest film, “Zodiac”, is nothing short of the best film I’ve seen this year so far. It is a near perfect masterpiece that utilizes Fincher’s keen talent for mystery and nihilism. One of Fincher’s previous films, “Se7en”, was a very straightforward nihilistic tale about the dark side of society. “Zodiac” takes on a similar theme, but enhances the experience and challenges the audience to look deeper in to the concept of wandering aimlessly in a confused lifestyle.
“Zodiac” is a story told in two very strong acts. The first half of the film features Inspector David Toschi (Mark Rufflo) and his partner William Armstrong (Anthony Edwards) trying to find a serial killer who terrorized San Francisco throughout the 1960s and 70s. The killer, Zodiac, sends letters to the city newspaper which contained coded messages that are broken by cartoonist Robert Graysmith (Jake Gyllenhaal), and followed up by writer Paul Avery (Robert Downey Jr.). However, as years go by, the second act intervenes. The murders stop late in the 1970s and people lose interest. The case remains open, but no one follows up on it. Graysmith, on the other hand, is still curious as to who the Zodiac was-- Compiling as much information as he can and interviewing many people involved with the Zodiac case, Graysmith gets unofficial help from Inspector Toschi to answer the question no one cares about anymore: Who was the Zodiac?
The movie has a long running time, but it never gets boring. Since the entire film spans from the 1960s to the 1990s the audience hops from one year to another at breakneck speed. There’s always something new that the Zodiac is doing, and if he’s not doing anything, other characters are left thinking about the mystery and even obsessing over it. Lives are put at stake, careers are ruined and the audience becomes as obsessed with the film as Graysmith does with the Zodiac.
The acting is top-notch from everyone. Gyllenhaal seems to have instant chemistry with Mark Rufflo and Robert Downey Jr.-- Who, incidentally, almost steals the show with his phenomenal supporting role. I cannot wait to see Downey in more films! Everyone and everything works. Even when you know there’s nothing to be in suspense about, Fincher accomplishes the concept that, sometimes, the idea is scarier than the reality. (A hard concept to bring to life. Even M. Night failed miserably at that, ala, “The Village”.)
As you watch the characters and their confusion with the entire ordeal, Fincher’s knack for dark atmosphere and social nihilism peeks through. The characters wander endlessly, looking for a killer that no one cares about. And while there are plenty of theories as to who he is, there’s just no proof. Did Graysmith find the killer? Or, like society’s quest to prove what religion is correct, is it a mystery that will always be in dispute? Are we all just…wandering in the dark? Furthermore, what kind of civilization do we live in that ends up not caring about a killer? Does no one believe he should have paid for his murders? Does it make it okay to forget simply because he no longer kills? The movie brings up a lot of interesting points and metaphors to ponder on, but they’re never just handed to you on a silver platter.
Fincher has brought on his newest masterpiece and probably his best film to date. I’ll always be a “Se7en” fan, but Fincher’s subtle approach at using storytelling to evoke powerful metaphor is masterful here. He’s raised his own creative bar and invented another unique and thoughtful piece of filmmaking. Yet this time, he asks us to think just a little harder.
**** out of ****
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